DOCSLIB.ORG

Art from Australia: Eight Contemporary Views, Is to Visit Bangkok, Jakarta, Manila, Kuala Lumpur and Singapore in 1990-91

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art from Australia: Eight Contemporary Views, Is to Visit Bangkok, Jakarta, Manila, Kuala Lumpur and Singapore in 1990-91 Art from Austrqliq EIGHT CONTEMPORARY VIEWS MICKY ALLAN IOHN DAVIS i, RICHARD DUNN I ANNE FERRAN FIONA HALL IMANTS TILLERS CAROLINE WILLIAMS IOHN YOUNG Curator: Alison Carroll Exhibition touring to Bangkok, Jakarta, Manila, Kuala Lumpur and Singapore: 1990-1991 Australian Exhibitions Touring Agency, 1990 Messoge from the Prime Minister I am delighted that this exhibition, Art from Australia: Eight contemporary views, is to visit Bangkok, Jakarta, Manila, Kuala Lumpur and singapore in 1990-91. It will be the first major exhibition of Australian art to visit South East Asia for many years. I believe very strongly that Australia and our South East Asian neighbours have an enormous amount to share with each other. This exhibition will give a strong indication of contemporary Australian artistic currents and concerns. At the same time, it will demonstrate the depth of Australia's interest in developing contacts with and learning more about the rich and vivid contemporary cultures of our neighbours. I congratulate westpac Banking corporation on sponsoring the exhibition, and the Australia council and the Department of Foreign Affairs and Trade on supporting it. It is my strong hope that Art from Australia will prove to be the first of many new ventures exchanging art and artists between Australia and South East Asia. R J L Hawke 3 Art f rom Austrolio .' . : J economic rules of Adam Smith, and the artistic rules of ^ fi,:li"',1:;"T1,::T,Tffi*,"", Reynolds c A R R o L L loshua were a central and accepted part of the Dreamingoftensofthousandsof new Australian heritage. Unlike South East Asia they years; and the very short two didn't meet serious conflict from the other, different centuries, since 1788, of European settlement, a mere mode of the locally-born people. The act of transporting speck in time. The Aboriginal history has continued its these sociai rules was however, important, and the new path (diminished for a time, but now re-emerging with land itself enforced new attitudes. Gradualiy a different great vigour), and no doubt will go on into the future as history built up with different peoples mixing, living one of the various strands in the cultural mix of current and affecting social and emotional responses. day Australia. One important emotional link that Australian artists The 200 year period of white settlement however, have with most of South East Asia is the experience of while short by (certainly some standards in numbers of colonialism. The distance of white Australia from years) has been iong in other ways. A different seed in Britain has always been palpable - not only physically new ground often has to struggie and mutate to survive but aiso, importantly, socially. Australia was the and grow; from many points of view the period of Antipodes, 'the coionies' and being sent there had the European settlement in Australia has been one of assumption of, at worst, wrong doing (shades of the dynamic adaptation and change. penal past) and, at best, making a new start after There is indeed a comparison with many of the disasters at 'home'. In the arts for the last lS0 years modern cities of South East Asia, like Singapore, or (certainly until the Second World War) the attitude Kuala Lumpur, which have had a similar, remained that Australians would be accepted if chronologicaily short, life. Even Bangkok, Manila and approvai was given from Britain. ]akarta are 'new' cities in terms of world history and The first 'nationalist' artists, like Tom Roberts of the come well within the framework of the founding of Heidelberg School of the 1BB0s, travelled to Britain and Sydney, Hobart, Melbourne, Brisbane, Adelaide and Europe to learn and digest cunent European forms. In the same way luan Luna and Raden Saleh travelled to Spain and the Netheriands, and wider Europe, to iearn and gain favour. In all cases - Australia, the Philippines, Indonesia and other countries - the long road in the.arts to understand and move on from colonialist backgrounds is a fascinating, and in some ways continuing, process. The 'story' of art in Australia over the last 200 years has some major patterns, the outlines of which can be sketched in here. Parallels and comparisons with South East Asia are brought in, both because ofthe audience Fig. 1: Ludwig Becker 180g?-61, Border of the Mud Desert near Desolation Camp,786t, for this book, and because it is illuminating generally. Watercolour on paper, 14 x 22.8 cms. Colti Latiobe Librny, State Library ofVicroria. There are many books on Australian art in its various Perth, the major Australian cities, and they share an aspects available to fill out the picture more ability to accept and move with change. specifically. Australia has been different because the ,new, race of people, the Europeans, became and remained It seems surprising now that so little attention was paid dominant in their new land.' The original heritage of to Australia by Europeans in the seventeenth and early white Australia was from England, Scotland, Ireland eighteenth centuries, when there was so much and Wales, then joined by various other Europeans. The European activity (of expiorers, traders, missionaries, 6 ARTFROIAAUsIRALIA , ::) et al.) in the waters to the north. The Dutch to show interested investors, new settlers, and families , . i the barren western coast in the seventeenth the sights and possibilities of the new land. George ---'. but left it well alone and it was only in the late French Angas' South Australia Illustrated of 1844-45 is . ".-rth century (in 1770) that the English captain a good example, made some eight years after Adelaide's - ... Cook sailed up the more Iush and inviting founding. Raffles' illustrations to his history of lava are .- .-:- coast of the continent. Australians are raised on a similar undertaking. .- ,:res of Captain Cook and the difficulties of his The literal artistic relationship between 'Australia' -.-,='... and of the strange people, animals and plants and Asia began with little emotional significance: it .- --. :ound. We are not told of his next port of cail in was all 'possibilities'. It was only after white settlement ..,.rds just to the north, into the vibrant, in Australia and identification with the new land that - 'differences' to be asserted with Asia and with -. -.olitan city of Batavia, where every race of began : ,. :ould be seen and all manner of desirable items Europe and with other European-dominated cultures - :: purchased. elsewhere in the colonial world. ,^--s period however the relationship between In Australia the relationship with Europe was -: - :.ia' and 'Asia', from the European complicated. Sensitive to convict or impoverished origins, Australians =: trader's point of view, was very much based :. .,:icalities: what was possible to be traded, for wanted to distance =-:ch profit, and at what price (in terms of themselves from their . --:\' in reaching it, and with regard to one's own recent past, or that :a -:.:r rivals). The artists on board the ships had a of newly arrived people '4 . -: :ask where ever they were: to document the in similar difficult , . ::ople and products they saw for initial and circumstances. It is the same today when -, .::dr'. Botanical specimens were noted, the I ; .rhies drawn, and people scrutinised. Of course, new waves of i . ::?n of the age, certain preconceptions were immigrants receive the I example, poorest treatment lrom , r-::i: the notion of the'noble savage'for , '- . i:sire to turn a 'documentary' scene into a more Ihe nearesl previous . - .-.,.d Landscape 'view'. But the same artists who group. So social and Fig. 2: Thomas Griffiths Wainmight, 1794-1a47 The Cutmear Twins, and Lucy. c. 1840, success fane ' .--..stralia, like William Westall who travelled financial Watercolour. pencil on paper,32 x 30 cms '.. l.i.^:thew Flinders on the lnvesfigofor in 1801, became very important - --o draw other places of interest for a European and one way to demonstrate this was to commission -:,:.: in Westall's case in China and India and then artists to show either the material success of the patron ... r=rra and the West Indies. or the merits of the environment to both local and -. same documentary, to a degree ethnographic, audiences at 'home'. Such images also were needed to the new houses built in the cities. Portraits of - -: continued in Australia with the inland furnish : -:^s: taking artists or doing sketches themselves of great delicacy were made, for example by T.G. '..-ervs, products, terrains, as well as making the Wainwright (fig. z), as well as grander-scale oils of the .-.:lal emotionally charged image of the experience 'gentry' arranged in the style of Reynolds, or his . , , -,ring Australia's very hostiie deserts. Ludwig follower Thomas Lawrence. Views of new houses were : .. .- . images made on the ill-fated exploration of painted, in oil and watercolour and with varying - .r: and Wills through central Australia in the degrees of sophistication, often showing the new . -:e tvpical of the best of'explorer' art. In the facade, the garden, and the sweep of land associated ... ri the Mud Desert, the trail of camels carrying with it, either the view down to Sydney Harbour, or the ' little dogs, ' '.',.:-orers seems to disappear into atmospheric landholding in the country. Still-lives, with prize . -:-.' [fig. r). or fruit, or even fish, were painted, and, later on, -...--rher, related artistic tradition was the animals - in the tradition of George Stubbs - were ,:renting ofboth the new landscape and its depicted to add splendour to Georgian and then , -:s. as well as the new life of the settlers, and Victorian drawing rooms and studies. In the early days :. .--.ting these scenes into engraved and lithographed the artists were almost always convicts, often ...
Load more

Recommended publications
  • Postgraduate Diploma in Asian Art PROSPECTUS 2021/22
    SOAS University of London Postgraduate Diploma in Asian Art PROSPECTUS 2021/22 In Association with POSTGRADUATE DIPLOMA IN ASIAN ART 2 The Postgraduate Diploma in Asian art at SOAS University of London offers a programme renowned for its excellence. The course provides object-based study through lectures and contributions from a wide range of leading scholars, curators, and art market professionals. We have a formal association with the British Museum and the Victoria and Albert Museum (V&A), which means we offer exceptional access to the collections and curatorial expertise of both institutions. The Postgraduate Diploma will appeal to all those with a serious interest in Asian art, regardless of your personal, professional or academic background. It is also a proven pathway to further postgraduate study in Asian art and careers in museums, the art world and academia. In 2021/22 all our full-time modules will be fully available online, so you can study with us from anywhere in the world. Those able to travel to London will be able to join selected sessions in person, where circumstances allow. We also plan to host a series of co-curricular events, including in-person visits to the V&A and British Museum, subject to current safety measures. The online modules have been a game changer for me! I would have never “been able to physically go to London because of my work and studies. Also, the format allowed for such a diverse group of students as well as lecturers to come together, which was really enjoyable. Coming together in this virtual space allowed us students to sharpen our senses with regards to seeing the tiniest details that may have escaped our attention if in situ.
    [Show full text]
  • Contemporary Asian Art and Exhibitions Connectivities and World-Making
    Contemporary Asian Art and Exhibitions Connectivities and World-making Contemporary Asian Art and Exhibitions Connectivities and World-making Michelle Antoinette and Caroline Turner ASIAN STUDIES SERIES MONOGRAPH 6 Published by ANU Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at http://press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Author: Antoinette, Michelle, author. Title: Contemporary Asian art and exhibitions : connectivities and world-making / Michelle Antoinette and Caroline Turner. ISBN: 9781925021998 (paperback) 9781925022001 (ebook) Subjects: Art, Asian. Art, Modern--21st century. Intercultural communication in art. Exhibitions. Other Authors/Contributors: Turner, Caroline, 1947- author. Dewey Number: 709.5 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover illustration: N.S. Harsha, Ambitions and Dreams 2005; cloth pasted on rock, size of each shadow 6 m. Community project designed for TVS School, Tumkur, India. © N.S. Harsha; image courtesy of the artist; photograph: Sachidananda K.J. Cover design and layout by ANU Press Printed by Griffin Press This edition © 2014 ANU Press Contents Acknowledgements . vii Introduction Part 1 — Critical Themes, Geopolitical Change and Global Contexts in Contemporary Asian Art . 1 Caroline Turner Introduction Part 2 — Asia Present and Resonant: Themes of Connectivity and World-making in Contemporary Asian Art . 23 Michelle Antoinette 1 . Polytropic Philippine: Intimating the World in Pieces . 47 Patrick D. Flores 2 . The Worlding of the Asian Modern .
    [Show full text]
  • Human Kind Transforming Identity in British and Australian Portraits 1700-1914
    HUMAN KIND TRANSFORMING IDENTITY IN BRITISH AND AUSTRALIAN PORTRAITS 1700-1914 International Conference on Portraiture University of Melbourne and National Gallery of Victoria Conference Programme Thursday 8 September – Sunday 11 September 2016 Biographies of Speakers and Abstracts of their Papers [In chronological order: Speaker, title of paper, organisation, bio, abstract of paper] Speakers: Leonard Bell, University of Auckland, Who was John Rutherford? John Dempsey’s Portrait of the ‘Tattooed Englishman’ c.1829 Bio: Dr Leonard (Len) Bell is an Associate Professor in Art History, School of Humanities, The University of Auckland. His writings on cross-cultural interactions and the visual arts in New Zealand, Australia and the Pacific have been published in books and periodicals in New Zealand, Australia, Britain, USA, Germany, the Czech Republic and Japan. His books include The Maori in European Art: A Survey of the Representation of the Maori from the Time of Captain Cook to the Present Day (1980), Colonial Constructs: European Images of Maori 1840–1914 (1992), In Transit: Questions of Home and Belonging in New Zealand Art (2007), Marti Friedlander (2009 & 2010), From Prague to Auckland: The Photographs of Frank Hofmann (1916-89), (2011), and Jewish Lives in New Zealand: A History (2012: co-editor & principal writer). His essays have appeared in Julie Codell & Dianne Sachko Macleod (eds), Orientalism Transformed: The Impact of the Colonies on British Art (1998), Alex Calder, Jonathan Lamb & Bridget Orr (eds), Voyages and Beaches: Pacific Encounters 1769-1840 (1999), Nicholas Thomas & Diane Losche (eds), Double Vision: Art Histories and Colonial Histories in the Pacific (1999), Felix Driver & Luciana Martins (eds), Tropical Visions in an Age of Empire (2005), Annie Coombes (ed), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa/New Zealand and South Africa (2006) and Tim Barringer, Geoff Quilley & Douglas Fordham (eds), Art and the British Empire (2007).
    [Show full text]
  • Dangerous Liaisons Revisited
    Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 The Taj Mahal and the Battle of Air Pollution THE GOVERNMENT OF India buy the more expensive ticket if they courtyard and its cloisters were added announced earlier this year that it is to want to get around the limit. Night subsequently and the complex was restrict the number of daily visitors to viewing is still permitted, but restricted fnally completed in 1653, with the the Taj Mahal in an attempt to to fve nights a month (including full tomb being the central focus of the preserve the 17th-century monument. moon). entire complex of the Taj Mahal. One of the best known buildings in Smog and heavy air pollution has It was inscribed on the World the world, and arguably India’s greatest been yellowing the Taj Mahal for Heritage List in 1983. Although the monument, makes it one of the most- many years and conservationists have Taj Trapezium Zone (TTZ), which visited tourist attractions in the world. been fghting through the courts to looks after 40 protected monuments, Millions of mostly Indian tourists visit control the levels of pollution in Agra. including three World Heritage Sites, the Taj Mahal every year and their Te Taj faces numerous threats, not Taj Mahal, Agra Fort and Fatehpur numbers are increasing steadily, as only from air pollution, but also insects, Sikri, delivered a court ban on the use domestic travel becomes easier.
    [Show full text]
  • Luminous: the Art of Asia: Educator Resource Guide
    Contact Information Seattle Art Museum 1300 First Avenue Seattle, WA 98101 206.654.3100 seattleartmuseum.org © 2011 Seattle Art Museum Please direct questions about this resource guide to: Wyckoff Teacher Resource Center, Seattle Art Museum, 206.654.3186 [email protected] Exhibition itinerary Seattle Art Museum, October 13, 2011 – January 8, 2012 Author Regan Pro, Manager of School + Educator Programs, Seattle Art Museum Editing Anna Elam, Wyckoff Teacher Resource Center Librarian/Educator, Seattle Art Museum Sandra Jackson-Dumont, Kayla Skinner Deputy Director for Education & Public Programs/Adjunct Curator, Modern + Contemporary Art Department, Seattle Art Museum Advisory Committee Sandra Jackson-Dumont, Kayla Skinner Deputy Director for Education & Public Programs/Adjunct Curator, Department of Modern + Contemporary Art, Seattle Art Museum Catherine Roche, Interim Assistant Curator of Asian Art, Seattle Art Museum Mary Roberts, Educator/Librarian, East Asian Resource Center SPONSOR INFORMATION Support for K-12 programs during the 2011-2012 school year provided by IMLS, PONCHO, The Clowes Fund Margaret A. Cargill Foundation. Sustained support is provided by an endowment established in 1999 by a National Endowment for the Humanities challenge grant and the generous contributions of matching donors, including the Patrice and Kevin Auld Education Endowment, Vicki and Tom Griffin Education Endowment, Nancy Ketcham Education Endowment, C. Calvert Knudsen Education Endowment, Gaither and B onnie Kodis Education Endowment, B arbara and Michael Malone Education Endowment, SAM Voluntee rs Association/Rental Sales Education Endowment, Richard Weisman Endowment, and the Ann P. Wyckoff Education Endowment. The William Randolph Hearst Endowed Fund for Education Program s at the Seattle Art Museum has supported SAM K-12 programs since 1994.
    [Show full text]
  • Asian Art Outlook Teacher Resources Based on the Mr
    Asian Art Outlook Teacher Resources Based on the Mr. and Mrs. John D. Rockefeller 3rd Collection of Asian Art Asian Art Outlook Teacher Resources Based on the Mr. and Mrs. John D. Rockefeller 3rd Collection of Asian Art Made possible with generous support from The IBJ Foundation Inc. of the Mizuho Financial Group Project Director Nancy Blume Research Assistants Kelsey Bostwick Beth Citron Educational Standards Consultants Anna Giudice Karla Marrero Designer Cherith Rose Education Advisory Committee Dr. Joseph Piro—Coordinator, Project Arts, CSD 24 Anna Guidice—Literacy Coordinator PS 81, Queens, CSD 24 Karla Marrero—Literacy Coordinator PS 16, Queens, CSD 24 Janice Schwarz—Director of Project Arts CSD 28 Karen Rosner—Office of Project Arts Funding Asian Art Outlook: Teacher Resources Based on the Mr. and Mrs. John D. Rockefeller 3rd Collection of Asian Art Art is of intrinsic importance to the educational process. The arts help teach young people how to learn by giving them the desire to learn. The arts are systems of signification that encode the values and ideologies of their time and place. When teachers are helped and encouraged to embark on culturally diverse studies of the visual arts by including Asian arts in their curriculums, students will gain a broader and deeper understanding of the world in which they live. Often, this leads to students studying the arts of their own cultural heritage, thereby gaining self-esteem. Given that the study of Asia is required in the social studies standards in 34 of the 50 states, it is clear that our schools and teachers need support and resources to meet the demands and expectations already upon them.
    [Show full text]
  • Australian Journal of Biography and History: No
    Contents Preface iii Malcolm Allbrook ARTICLES Chinese women in colonial New South Wales: From absence to presence 3 Kate Bagnall Heroines and their ‘moments of folly’: Reflections on writing the biography of a woman composer 21 Suzanne Robinson Building, celebrating, participating: A Macdougall mini-dynasty in Australia, with some thoughts on multigenerational biography 39 Pat Buckridge ‘Splendid opportunities’: Women traders in postwar Hong Kong and Australia, 1946–1949 63 Jackie Dickenson John Augustus Hux (1826–1864): A colonial goldfields reporter 79 Peter Crabb ‘I am proud of them all & we all have suffered’: World War I, the Australian War Memorial and a family in war and peace 103 Alexandra McKinnon By their words and their deeds, you shall know them: Writing live biographical subjects—A memoir 117 Nichola Garvey REVIEW ARTICLES Margy Burn, ‘Overwhelmed by the archive? Considering the biographies of Germaine Greer’ 139 Josh Black, ‘(Re)making history: Kevin Rudd’s approach to political autobiography and memoir’ 149 BOOK REVIEWS Kim Sterelny review of Billy Griffiths, Deep Time Dreaming: Uncovering Ancient Australia 163 Anne Pender review of Paul Genoni and Tanya Dalziell, Half the Perfect World: Writers, Dreamers and Drifters on Hydra, 1955–1964 167 Susan Priestley review of Eleanor Robin, Swanston: Merchant Statesman 173 Alexandra McKinnon review of Heather Sheard and Ruth Lee, Women to the Front: The Extraordinary Australian Women Doctors of the Great War 179 Christine Wallace review of Tom D. C. Roberts, Before Rupert: Keith Murdoch and the Birth of a Dynasty and Paul Strangio, Paul ‘t Hart and James Walter, The Pivot of Power: Australian Prime Ministers and Political Leadership, 1949–2016 185 Sophie Scott-Brown review of Georgina Arnott, The Unknown Judith Wright 191 Wilbert W.
    [Show full text]
  • Art Deco from the National Collection
    Secondary school education resource National Collecting Institutions Touring & Outreach Program 1 Curriculum connections This resource may be used to: • complement an experience of Art Deco through activities and ideas to assist with preparation for This Art Deco education resource invites students to the gallery visit explore the vitality and innovation of Art Deco art and design in early twentieth-century Australia through • as a reference when students are viewing the work responding and making. It explores the influence of technological advancements and urbanisation across • deepen understanding and engagement post-visit a diverse range of artforms in the aftermath of World War I. • support in-depth research into Art Deco art and design, its wider historical context and the work of Art Deco is perfectly suited to foster students’ critical individual artists associated with Art Deco. and creative thinking skills. By applying a sequence of exercises, students will develop an increasingly The resource includes the following learning activities, sophisticated understanding of problem-solving paired with major themes of the exhibition: processes and interpretation. Through the creation of their own works of art, students are required to • Speak your mind: Talking points or provocations identify, explore and organise information and ideas. to facilitate contemplation and discussion as well as offer opportunities for students to engage with This resource is directly linked to the Australian art history and theory through exploratory research Curriculum and is designed to develop successful tasks learners, confident and creative individuals and active, informed citizens. Students are encouraged to reflect • Get to work: Creative art making suggestions that on Art Deco from a contemporary perspective and to explore key concepts consider and question values, attitudes, perspectives and assumptions.
    [Show full text]
  • Paintings Conservation in Australia from the Nineteenth Century to The
    Paintings Conservation in Australia from the Nineteenth Century to the Present: Paintings Conservation in Australia from the Nineteenth Century to the Present: !"##$!%&#' %($ )*+% %" %($ ,-%-.$ Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. !"#%.&0-%".+ Allan Byrne Anne Carter Paula Dredge Catherine Earley Kate Eccles-Smith Alexandra Ellem Sarah Fisher John Hook Deborah Lau !"##$!%&#' Alan Lloyd Holly McGowan-Jackson Jacqueline Macnaughtan Catherine Nunn %($ Gillian Osmond Chris Payne )*+% John Payne %" Robyn Sloggett Michael Varcoe-Cocks %($ ,-%-.$ Contributions to the Eleventh AICCM Paintings Group Symposium National Gallery of Victoria, Melbourne 2008 $/&%$/ 01 !*.2 3&22&+ *#/ *2$4*#/.* $22$5 Alan Lloyd Paintings Conservation in Australia from the Nineteenth Century to the Present: Connecting the Past to the Future Essays, Recollections and Historical Research on Paintings Conservation and Conservators, from the Nineteenth Century to the Present. Contributions to the Eleventh AICCM Paintings Group Symposium, held at the National Gallery of Victoria in Melbourne, October 9th & 10th, 2008. "#$%"# &' ()*+ ,$++$- ).# )+"/).#*) "++"0 1 Contents Director’s Foreword i Preface iii Copyright © Australian Institute for the Conservation of Cultural Material Inc. 2008 Acknowledgments xi ISBN 978-0-9580725-2-6 Part I Stories of Early Years Edited by Carl Villis and Alexandra Ellem Design: Jessica Gommers and Elizabeth Carey Smith 1. Catherine Nunn 1 “Benign Neglect” and Australian Conservation History: Published by AICCM Inc. An Unlined Eighteenth-century British painting in Australia GPO Box 1638 Canberra ACT 2601 2. Alex Ellem 11 Printed in Melbourne by Impact Digital Pty.
    [Show full text]
  • TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
    TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine
    [Show full text]
  • Monarchs, Merchants, and Devotees Sponsored by the Society for Asian Art
    Arts of Asia Lecture Series Spring 2016 Patronage in Asian Art: Monarchs, Merchants, and Devotees Sponsored by The Society for Asian Art Exchange, Indebtedness, and Artistic Production: Artists and Collectors in the Ming Dynasty (1368–1644) Dora C.Y. Ching, Princeton University Friday, 15 April 2016 Part One Imperial Patronage Part Two Xiang Yuanbian and His Circle Key Ming Emperors Reign Title Reign period Family Name Temple Name Hongwu 1368–1398 Zhu Yuanzhang Taizu Yongle 1403–1424 Zhu Di Chengzu or Taizong Xuande 1426–1435 Zhu Zhanji Xuanzong Chenghua 1465–1487 Zhu Jianshen Xianzong Hongzhi 1488–1505 Zhou Youtang Xiaozong Jiajing 1522–1566 Zhu Houcong Shizong Wanli 1573–1620 Zhu Yijun Shenzong Selected Artists, Collectors, Works (in alphabetical order by surname) Chen Hongshou (1598–1652). Artist and scholar; earned a living through painting and making designs for playing cards and woodblock illustrations. From Zhuji, Zhejiang province. • Hermit in a Landscape. Asian Art Museum (B79D8) • Artist Inebriated, 1627. The Metropolitan Museum of Art (1999.521 Dong Qichang (1555–1636). Scholar, painter, calligrapher, statesman and art theorist. From Huating (modern Songjiang). • Wanluan Thatched Cottage, 1597. Private collection, Taipei. • Landscape after Old Masters, 1621–1624. The Nelson-Atkins Museum of Art (86-3) Qiu Ying (d. 1552). One of the Four Masters of the Ming (with Shen Zhou, Wen Zhengming, and Tang Yin). • Garden for Self-Enjoyment. The Cleveland Museum of Art (1978.67) Shang Xi (active ca. 1426–1435). Court artist during the Xuande period (1426–1435). • Xuande Emperor on an Outing (Ming Xuanzong xingle tu) • Guan Yu Capturing Pang De (Guan Yu qinjiang tu) Shen Zhou (1427–1509).
    [Show full text]
  • PAINTING AWARD Front Cover Image: E Phillips Fox (1865–1915), Bathing Hour, C.1909, Oil on Canvas, 180 × 112 Cm, T C Stewart Bequest Fund 1952, Acc
    2019 LEN FOX PAINTING AWARD Front cover image: E Phillips Fox (1865–1915), Bathing Hour, c.1909, oil on canvas, 180 × 112 cm, T C Stewart Bequest Fund 1952, Acc. No. 318. First Published in 2019 by Castlemaine Art Museum 14 Lyttleton Street (PO Box 248) Castlemaine, Victoria 3450, Australia www.castlemainegallery.com Published as a digital catalogue for the exhibition Len Fox 2019 Painting Award 8 June – 1 September 2019, presented at the Castlemaine Art Museum. Exhibition Management: Lauren Matthews and Elizabeth Retallick Catalogue Editor: Lauren Matthews with assistance from Peter Struthers and Rosemary Jane Howarth. Director CAM Renewal: Naomi Cass Catalogue and wall text Design: Adrian Saunders We acknowledge and thank Geoffrey Smith, Director of Sotheby’s Australia, for judging the Len Fox Painting Award. CAM thanks the The Len Fox Bequest and the Castlemaine Art Gallery and Historical Museum Trustees for their financial support in enabling this Award and exhibition to flourish. Acknowledgement of Country Castlemaine Art Museum acknowledges the Dja Dja Wurrung as the Traditional Owners of the land on which we work and are located and their continuing connection to the land, waters and culture. The CAM Board, Members, Staff and Volunteers pay respects to all Aboriginal and Torres Strait Islander people and their Elders past, present and emerging. LEN FOX PAINTING AWARD In celebration of the life and work of Emanuel Phillips Fox (1865–1915), the Len Fox Painting Award is a biennial exhibition and acquisitive prize awarded to a living Australian artist. Finalists are selected for their ability to successfully engage with the ideas, techniques and sensibilities in the work of E.P.
    [Show full text]